By Spencer Wilking
By Christina Black
By Calum Marsh
By J. Pablo
By Phillip Mlynar
By Jenna Sauers
By Brian McManus
By Elliott Sharp
Wednesday there was e-mail from Jessica Hopper of Hyper PR in Chicago, apologizing for having to tell us where her bands were headed now that CMJ had been postponed. "Nothing like profound tragedy to make our myopic punk rock world and scene squabbles seem truly meaningless," she began, struggling like everyone else for language that would grab and hold. "We're planning to donate the cost of our unused seats out to CMJ to the Red Cross and various rescue funds. It's hard to know what to do, a feeling I'm sure everyone can identify with." Perhaps it was because I'd learned from Charles Cross's Heavier Than Heaventhat Hopper was staying in Kurt Cobain's house the morning Cobain shot himself (undetected, in a separate building) that I found her use of the exhausted, inescapable "tragedy" so much more striking than that of, say, Justin Timberlake, who seemed every bit as honorable and distraught. I mean, this woman had some expertiseCobain's death was a profound tragedy too. But the difference in scale is qualitative. Rock and roll overcame tragedy in Cobain's music as surely as tragedy overcame rock and roll in his life. This time, it's tragedy in a clean sweep.
Talk blues till you're blue in the face, cite all the music we love that has a darkness to it, and rock and roll still remains a uniquely American reproach and alternative to what a European existentialist long ago dubbed the tragic sense of life. Invented by and for teenagers in a time of runaway plenty, it's not blues by a longshot, and from Chuck Berry to the Beatles to the Ramones to Madonna to OutKast, a fair share of its masters have made extinguishing darkness their lifework. They come in knowing that love hurts and everybody dies, but they have the inner confidence to remember there's more to life, and to prove it. The music's confidencein addition to its deeply democratic form, its African slant on melody and rhythm, and its Cadillacs with cherries on topwas why rock and roll took over a Europe that was only a decade past World War II. We were too, of course. But our mainland hadn't been attacked by a hostile power since 1814. War had never endangered our lives, ravaged our world, happened in front of our eyes. Now, as we count our dead, adjust our expectations, replay those crumbling towers in our minds, and prepare for horrors to come, it has. Tragic-sense-of-lifers like to grant the Bomb a crucial role in rock and roll consciousness. I've always suspected that was liberal rhetoric, that at most '50s nuclear fantasies added edge and flavor. Now I'm sure of it. Our inner confidence, if it's there at all anymore, will never sound the same. If I live long enough, I'll finally have something to get nostalgic about.
Of course, what made the confidence doubly winning was its commonnessits commitment to music/language at its most vernacular. That's why the worst flatline of our president's Oval Office chat the night of the attack came when he avoided the King James version of the 23rd Psalm for one of the Business Writing 1 translations that palliate well-heeled fundamentalism all over suburbia. "The folks who did this" was mind-boggling enough. But how could even George W. have imagined that "You are with me" would get anyone's heart beating like "Thou art with me"? Just when we needed a jolt of moral certitude, the glad-handing frat boy grayed out like the policy wonk we wish he was. We vernacular fans can see the connection between "the folks who did this" and the hard-wired rootsiness that afflicts a gamut of fools from Pete Seeger to Lee Greenwood, just as we can connect "You are with me" to L.A./Stockholm megapop. And I hope we sense that in this time of unprecedented trouble, the long-impacted grandeur of "Thou art with me" is the kind of vernacular we need. As a Bible-believing Christian turned convinced atheist, I never miss a chance to shout that rock and roll is secular music. But that hardly means it doesn't have religious sources or express religious feelings. I know, religious feelings got us into this hell. And I can now guarantee that there are atheists in the valley of the shadow of death. But I doubt there was anyone without religious feelings last week. Death is every atheist's window on the eternal.
I hadn't yet pinned this down Tuesday when I finished retrieving my daughter from school in Queens. But I already knew I wanted to begin my next show on the Voice's fledgling Web radio station with the atheist's hymn: From "God is a concept by which we measure our pain" to "I don't believe in . . . ," John Lennon's "God" summed up a mood, and for Carola and me that was reality. Soon I figured out where I'd end, too: with Sufi shaikh and Istanbul medical professor Orüj Güvenç chanting "Bismillah ah-Rah-man," one of the names of God. But though devising a playlist was the only way I could think of to pretend I had a use in the world without confronting my own inanity, finding the right songs was a lot harder than it was during the attack's geopolitical cause and CNN forerunner, the Gulf War. "What's Going On" seemed way corny, and "From a Distance," unfortunately, was no longer an apposite metaphor. This was a time for some of the rage music that I love as art and rarely need in life. Punk for sure, "Hate and War," but before I even got there I was on the only metal band I care for deep down, Motörhead.
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